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ANTHROPOCENE, Controlled Conditions, Independent

Anthropocene – Andrew Moore Photoshoot

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Why Andrew Moore?

Andrew Moore’s work depicting the effects of time on natural and built landscapes has greatly inspired me while researching for this Anthropocene project. I really enjoy the way Moore captures his images from a different perspective to Burtynsky and how he demonstrates the way nature is trying its best to overcome the effects the human race is having on the environment. I wish to reflect this element of Moore’s work through landscape photography of overgrown scenes while also capturing images showing areas of nature by the side of industrial buildings. I believe this will further the Anthropocene idea on society’s impact on the world by showing the impending modernization creeping into each photograph. Additionally, Moore’s use of saturated colours and natural lighting allows the observer to understand the subject better, for example letting them acknowledge how nature; when left alone and undisturbed by humans, has the ability to form beautiful natural landscapes and areas that are not overwhelmed by industrialized structures.

Photoshoot Plan

What – I plan on capturing images of landscapes which have been impacted by humans with buildings, greenhouses, ruins and industrial sites – however with nature still trying to make an appearance, fighting back against the urbanisation. I wish to capture elements of the natural environment juxtaposed with modern structures to represent the imminent world industrialisation.

Where – I aim to produce this photoshoot around many locations on the island; the first, where I wish to photograph the difference between nature and industrial structures, is at Le Quesne Barracks, Mount Bingham in St. Helier. I also plan on walking down to the beach at Halve Des Pas to capture the natural landscape with tall structures from La Collette in the background.

When – My plan is to conduct this photoshoot on Friday 21st of May due to the forecasted sunny weather, as I am taking my images inspired by both Edward Burtynsky and Andrew Moore on the same day. The bright weather will aid my photoshoot as it will create harsh shadows and emphasise natures vibrant colours, symbolising the beauty in the untouched natural environments around us, which are slowly being destroyed and forgotten.

How – Similar to my shoot inspired by Edward Burtynsky, I will use natural sunlight to capture my images. I also plan on standing from a lower eye-level point of view and getting closer to the main subject of my photos to reflect Moore’s more grounded style of photography.

Why – My aim in producing this photoshoot is to mirror the work of Andrew Moore by capturing natural landscapes which have been effected by the human race with buildings and structures creeping into each photo. Additionally, I want to photograph areas of landscapes that have been tampered with by humans however where nature is retaliating against the urbanisation of it’s natural habitat.

Contact Sheets

Selected Images

Image Analysis

I have chosen to analyse this image from my Andrew Moore inspired photoshoot as it represents the idea of nature fighting back against industrialization. I captured this photograph at an abandoned greenhouse in Grouville, during mid-day using natural lighting to reflect Moore’s style of photography. The first element of my image that I really enjoy is my capturing of straight leading lines, creating direction in the photograph and guiding the observer’s attention into the center of the image. These thin abstract lines create geometric patterns from the mid-ground to the background and symbolize the rigid systematic way that humans are impacting natural environments. These artificial shapes contrast greatly with the organic pattern formed by the cluster of bushes and leaves which are reflected throughout the image. The texture created by these brambles is rough and spiky which gives the impression that nature is having to fight for its environment through force as society’s modern architecture will not let it thrive. Furthermore, the actual location of where this image was taken links to the Anthropocene idea even more as it is planned to be destroyed in order to make room for new housing and apartments. The context of the location shows how little humans are caring about the natural world, connoting the idea that they will let their beautiful landscapes become abandoned to make profit on industrializing and destroying them in the future. Additionally, the high saturation of colour in this image helps the observer to understand the value in our natural environments as it connotes the idea that when nature is left to thrive on its own it can create beautiful surroundings – however the vibrancy is juxtaposed with the dull monochrome greenhouse structure which symbolizes how nature is trapped behind the industrial bars of man-kind.

Natural Landscapes

During my Andrew Moore inspired photoshoot, I captured elements of the landscapes that I was in which showed nature, untouched by man and thriving in its natural environment. I wanted to photograph these landscapes to link to my initial idea of presenting the three different stages of industrialization, showing nature unharmed, nature fighting against man-made structures and nature destroyed with urbanization taking over – in my final presentation of images I wish to use these natural landscape images as the first photo in the sequence of three. I wanted to highlight the beauty of nature through vibrant colours and the use of negative space in the skyline – I believe this gives the impression of a clear clean future of surviving natural landscapes, which contrasts significantly with the other two elements of my Anthropocene project.

ANTHROPOCENE, Controlled Conditions, Independent

Anthropocene – Edward Burtynsky Photoshoot

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Why Edward Burtynsky?

Edward Burtynsky’s work in ‘The Anthropocene Project’ has immensely inspired me, I really enjoy the way he uses a birds-eye point of view to capture his images as I believe it connotes themes of man looking down on all he has created. Burtynsky’s use of repetition and shape in his images is also a factor I wish to demonstrate in my photoshoot inspired by him, I believe it shows the uniformity of society and hints at how the growing industrialization of our planet is leading to an indifferent homogenized world. Additionally, I believe Burtynsky’s work holds many interesting uses of shape and texture- I wish to reflect his busy images by capturing landscapes with many similar structures and buildings to symbolize the growing destruction of natural landscapes. I aim to demonstrate how humankind, with its population explosion, industry, and technology, has in a very short period of time become an agent of immense global change.

Photoshoot Plan

What – I plan on photographing landscape images overlooking urbanised scenes and areas of Jersey, I aim to capture rooftops, buildings, roads, harbours, office blocks and industrial workplaces to show the sheer amount of unnatural sites surrounding us daily.

Where – My idea is to go to the top of Fort Regent car park to capture most of my images as the view looking over St Helier shows mass industrialisation. Additionally, I plan on photographing landscapes from footpaths along Halve Des Pas to show the modernised buildings around the shore line, and also from the harbour near La Collette to shows the industrial areas of our waters.

When – I aim to capture these images on Friday 21st May due to the weather forecasting lots of sun – this will benefit my photoshoots as I plan on spending the day going to different locations inspired by my chosen photographers (Edward Burtynsky & Andrew Moore) who both capture bright images using natural lighting.

How – I plan on photographing the modern landscape of St Helier from high places eg. the top of Fort Regent – however due to this location having a tall fence blocking the birds-eye view I will have to place my camera lens between the bars to capture the landscape through the gaps in the fence – if this poses as a problem I may have to drive higher and over look town from another location.

Why – My aim in producing this photoshoot is to capture images reflecting the work of Edward Burtynsky, showing the growing industrialisation of our planet and demonstrating how systematic society is becoming; reflected through architecture and the destruction of our natural landscapes.

Contact Sheets

Selected Images

Image Analysis

I have chosen to analyse this specific image from my Edward Burtynsky inspired photoshoot as I believe it holds several interesting uses of the formal elements, successfully reflecting the industrialization of the parish of St Helier. I captured this image at the top of Pier Road Car Park, placing my camera lens between the railings to photograph the mass of buildings across the town landscape. I really enjoy the amount of repetition I have captured in this image, I believe the span of windows all lined up in rows across each building presents the idea of a uniform, unchanging society where humans are the constant source of natural environmental destruction. Moreover, the row of trees captured in the mid-left of the image shows a systematic approach to taming nature, their orderly artificial shapes are unnatural and have been photographed to suggest that our world is becoming infested with industrial ideas in architecture and now clearly nature too. In the foreground, the rectangular geometric shapes that fall across a building’s rooftop almost resemble cards of paint colour swatches, symbolizing how humans treat environments as if they are their own rooms to decorate, destroying natural habitats like they are just options of paint shades. The composition of my image shows a wide depth of field, with a busy foreground and mid-ground with the only element of negative space seen in the background- this space, with its bright blue colour, provides a juxtaposition to the otherwise bland colours seen elsewhere of white, brown, cream and grey. The colour palette of my image connotes how the urbanization of our landscapes is destroying all the beauty within them, with unsaturated shades creating a monotonous mood for the observer. As I have photographed this landscape at mid-day using natural lighting, there is a wide range of dark and light tones – the darkest falling across shadowed sides of hotels and office blocks and the lightest within the highlights of white apartments. This extent of dark and light across the image creates a high contrast and, along with the harsh texture created by the repetition of geometric shapes, develops a hectic atmosphere for the observer.

ANTHROPOCENE, Controlled Conditions, Independent

Anthropocene – Photographer Case Studies

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Andrew Moore

Andrew Moore is an American photographer, born in 1957, who documents the effect of time on natural and built landscapes. His series includes work made in Cuba, Russia, Bosnia, Times Square, Detroit, The Great Plains, and most recently, the American South. Moore was a lecturer on photography in the Visual Arts Program at Princeton University from 2001 to 2010. Presently he teaches a graduate seminar in the MFA Photography Video and Related Media program at the School of Visual Arts in New York City. He captures his images in a journalistic, documentary type fashion, photographing landscapes where man’s impact on the surroundings is being challenged by the power of nature. I felt drawn to Moore’s work due to his talent in capturing a sort of mid-stage between industrialization and natural landscapes, the observer can clearly see elements of nature in his images- however there is also a sense of impending urbanisation creeping into each image, may it be in the background or the main focus. I wish to take inspiration from this element of Moore’s work and portray the idea of ‘nature fighting back’ in one of my photoshoots.

Edward Burtynsky

Edward Burtynsky is a Canadian contemporary photographer, born in 1955 of Ukrainian heritage in St. Catharines, Ontario. He received his BAA in Photography/ Media Studies from Ryerson University in 1982, and in 1985 founded Toronto Image Works, a darkroom rental facility, custom photo laboratory, digital imaging and new media computer-training centre catering to all levels of Toronto’s art community. Early exposure to the sites and images of the General Motors plant in his hometown helped to formulate the development of his photographic work. His imagery explores the collective impact we as a species are having on the surface of the planet; an inspection of the human systems we’ve imposed onto natural landscapes. Burtynsky’s work really inspired me when researching different Anthropocene photographers as I enjoy the way he captures repetition throughout his images with an interesting camera point of view, I wish to reflect the way he captures our world’s rapid industrialization through landscape photography.

Burtynsky was part of the team with Nicholas de Pencier and Jennifer Baichwal who created ‘The Anthropocene Project’, in an extract from Burtynsky’s essay, “Life in the Anthropocene” he wrote “we hope to bring our audience to an awareness of the normally unseen result of civilization’s cumulative impact upon the planet. This is what propels us to continue making the work. We feel that by describing the problem vividly, by being revelatory and not accusatory, we can help spur a broader conversation about viable solutions. We hope that, through our contribution, today’s generation will be inspired to carry the momentum of this discussion forward, so that succeeding generations may continue to experience the wonder and magic of what life, and living on Earth, has to offer.”

Image Comparison

1 – Andrew Moore | 2 – Edward Burtynsky

I chose to compare this image taken by Andrew Moore to one of Edward Burtynsky’s images as I believe they both hold similarities and differences with their use of techniques in the formal elements. Moore’s image was captured at Via Blanca, Cuba in 2012 and Burtynsky’s was released in ‘The Anthropocene Project’ in 2018. The first clear similarity is that both photographers have captured leading lines produced by roads that draw the observer’s attention through the images, creating a sense of movement and energy. Moore’s leading line is straight and thick, guiding the observer’s eye into the distance and background of the photograph- Burtynsky’s image also leads them to the background, however his captured line is thin and curves around the top right of the photo. The comparison between these two uses of leading lines symbolizes how the industrialization of our planet will continue on into the future, becoming more and more accepted and normal- just as Burtynsky’s line bends and blends more into it’s surroundings than Moore’s earlier captured photograph. Furthermore, there is a similar grainy rough texture in both images, created by the busy amount of subject captured; the trees in Moore’s image create a spiky feeling however they also have a sense of serenity that produces a more calm atmosphere, which is juxtaposed greatly with the out-of-place motorway that cuts through them.

In addition, there are also several differences between each image, for example their composition and camera point of view. Moore has captured his landscape from a lower perspective, and while it is not at eye-level, it still creates a more grounded impression by bringing the observer closer to the subject. In comparison, Burtynsky’s photograph is captured with a birds-eye point of view, symbolizing the biblical connotations of man looking down on all he has created as if he were a God. Moreover, the actual location of each landscape image is a significant difference between the photographs, with Moore’s showing the woodlands and forests in Cuba being industrialized and Burtynsky’s demonstrating the mass industrialization of cities and towns. Burtynsky’s image holds zero negative space, it’s cramped composition creates an uneasy and overwhelming atmosphere as the repetition of buildings and structures surrounding the winding road connotes the idea of a dystopian, homogeneous society where everything and everyone is the same. The trees and nature which are reflected over and over again in Moore’s image suggests that the beauty in our natural environment is still trying to push against human impact and urbanization, connoting the idea that there may still be hope. Lastly, Moore’s image holds more vibrant and saturated colours than those seen in Burtynsky’s photograph, the blue sky in the background of the image gives the impression that if humans are still destroying the planet by using fossil fuels and increasing CO2 emissions, mass industrialization will continue on into the future, however if we do something about the destruction of our world now there is hope moving forward that the environment can be saved.

ANTHROPOCENE, Controlled Conditions, Independent

Anthropocene – Mindmap and Ideas

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Anthropocene Moodboard

Initial Ideas

After researching different object, portrait and abstract photographers and analysing their techniques to portray ‘Anthropocene’, I have decided to focus my project on landscape photography as I would like to demonstrate how man-made structures are increasingly impacting our natural environment. I plan on capturing landscapes around Jersey in three different stages; the first highlighting the beautiful natural areas in reservoirs and woodlands, the second showing areas of Jersey where nature can still be seen however man’s impact is taking effect and the third exhibiting the cluttered industrial landscapes of our island. My concept is to produce three final images in a sequence, with each image showing the increasing levels of environmental destruction and foreshadowing how a future of mass industrialisation is growing closer every minute.

ANTHROPOCENE, Controlled Conditions, Independent

Anthropocene – Introduction

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What is Anthropocene?

Anthropocene is the word used to describe Earth’s most current state, a time where humans are the primary source and most influential factor of global warming, climate change and other changes to land, environment, water, organisms and the atmosphere. For the last 11,500 years, Earth has been in the Holocene Epoch. It began at the end of the last ice age, when the glaciers that had previously covered Earth disappeared, over the years humans have built cities and achieved colossal technological advancements. Scientists are still debating the proof for the Anthropocene and are looking for what’s known as a ‘golden spike’ – a marker in the fossil record which could demarcate the Holocene from the Anthropocene. Some people suggest the Anthropocene began at the start of Britain’s Industrial Revolution in the eighteenth century, which created the world’s first fossil fuel economy.

Anthropocene In Photography

In recent years, photographers have taken it upon themselves to use their skills in order to capture the devastating Anthropocene state of our world. The portrayal of this destruction has been photographed through many mediums as well as just landscapes, such as portraiture, object images and abstract photography. Photographers such as Steven Gallagher and Naomi White have demonstrated their opinions and ideas on Anthropocene through capturing plastic bags, whereas Alexandra Bellissamo has taken portraiture based images to show the relationship between nature and mankind. Nicholas de Pencier, Edward Burtynsky, and Jennifer Baichwal are the team which collaborated on ‘The Anthropocene Project’. The project was described as ‘a multimedia exploration of the complex and indelible human signature on the Earth’ capturing ‘the most spectacular evidence of human influence, while taking time to reflect on the deeper meaning of what these profound transformations signify’. More information on ‘The Anthropocene Project’ can be found here.

Artists Of Anthropocene Video

  • Edward Burtynsky
  • Alexandra Bellissamo
  • Naomi White
  • Barry Rosenthal
  • Steven Gallagher
  • Edward Burtynsky
Independent, Task

Urban/Industrial Landscapes – Analysis + Comparison

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Final Image

I chose this photograph as my final image for this urban/industrial project due to it’s strong similarities to the work of Frank Breuer and use of the formal elements. I believe this image reflects the industrialisation of the modern world, demonstrating the ever growing mass of manufactured products taking over the nature around us. In this image I have captured waste skips using natural sunlight, which due to the sun falling behind them, has created harsh shadows underneath. I decided to photograph this landscape in such a way to connote the theme of a post-industrial capitalist society casting a shadow over the world as it destroys the beauty of nature. Additionally, these dark shadows could be compared and seen as similar to clouds of smog from atmospheric pollution, reflecting how harmful it is that this urbanisation of our world is increasing rapidly. Furthermore, I have captured repetition of thin straight lines that fall across the warehouse in the background of my image. These lines demonstrate uniformity and present the idea that the incline in modern infrastructure has lead to a homogeneous society, where things like architecture and people are robotic and indifferent. Due to the sun’s reflection on this building, the lines are highlighted and resemble structures like prison bars or cages- further connoting the concept that society is stuck in an industrial trap and locked away from the importance of our natural environment. Moreover, to imitate the work of Frank Breuer I have edited my image slightly by increasing the whiteness and exposure to mimic his blank backgrounds. I believe this editing choice has really added to the overall message of my piece, with the negative space representing how barren and empty our beautiful natural landscapes are becoming as a result of growing industrialisation. In addition, the colour palette of this image is limited, with a subtle peachy hue sweeping across it and the only pops of colour coming from the skips themselves. This relates to Breuer’s work and connotes the idea that society is devoid of originality and inventiveness through the lack of colour and repetition of shape.

Image Comparison

Frank Breuer | Containers 2002 – Compared to – My Industrial Image

I decided to compare this image from Frank Breuer’s study of ‘Containers’ in 2002 to my image of stacks of crates at the harbour due to their wide range of similarities within the formal elements. The first obvious similarity is that both Breuer and I have captured saturated primary colours as the main tones in our images. The use of the colours red, blue and yellow allude to the simple nature of how these industrial structures are becoming so normalised in our modern world, with the three most basic colours representing its triviality. The bright vibrancy of both images also draws focus to the urbanised structures, helping us understand the importance of the subject and how its impacting our world. Furthermore, Breuer’s and my image each contain repetition of geometric shapes which create echoed patterns throughout the photograph. In my image, I have captured repeated rectangle shapes which represent the uniformity and capitalist view of society- each rectangle a member of modern civilisation. In Breuer’s image, his repeated rectangles are larger and appear to be more solid stable structures- perhaps connoting the idea that our community is too set in its ways to change the clear neglect of our natural world- as if we are stuck in a looped pattern of destruction. Nevertheless, there is a difference between the types of repetition seen in each image, as Breuer has also captured it in the reflection from the puddle in the foreground of his image. These reflections could symbolise repetition from the past, as if we are being reminded of times where the industrialisation of our planet lead to some of the most devastating times in history such as pollution from the Industrial Revolution leading to a massive impact of global warming and the depletion of natural resources. Additionally, the comparison of these images highlights the difference in how our world has become even more modernised since Breuer’s was taken. For example, in Breuer’s photograph we can see a clear skyline of negative space, reflecting the barren landscapes urbanisation creates, yet in my image there are several industrial structures in the background as well as the foreground. This demonstrates how the industrialisation of our world is still growing rapidly to this day, with the two cranes in my photos background alluding to the increasing likelihood our actions and constant elimination of our natural world- though the time may be far away- will catch up to us eventually.

Independent, Task

Urban/Industrial Landscapes – Photoshoots

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Photoshoot Plan

What – My plan is to photograph landscapes around Jersey that hold industrial structures and equipment such as storage containers, stacks of crates, roofs of buildings, commercial signs and mechanical apparatus.

Where – I aim to capture my landscape images in settings such as the harbour, Rue Des Pres trading estate, La Collette power station, the airport and petrol stations as I believe these locations will show the industrialised aspects of the island- in terms of modern equipment and destruction of nature.

When – I plan on conducting my two photoshoots during the Easter holidays, taking advantage of days where workers may not be in warehouses/on building sites in order to capture more barren deserted images. I aim on photographing my landscapes when the weather is sunny so the subject is highlighted, yet hopefully still allowing me to replicate Breuer’s bright white backgrounds.

How – In order to take full advantage of the natural sunlight I plan on experimenting with changing the F-stop number on my camera to over-expose my images when needed, I also aim to explore who changing the white balance will effect the temperature of my images, to convey different moods.

Why – I wish to mirror the work of Frank Breuer when conducting my photoshoots, showing the growing industrialisation of our world and how an island as beautiful as Jersey can still hold the derelict manufactured landscapes ruining the beauty of the nature around us.

Contact Sheets

Photoshoot 1 – Buildings & Structures

For my first photoshoot I decided to focus on capturing the industrial buildings, signs and equipment around trading estates and warehouses. I wanted to photograph the normality of technical structures and buildings around the island to symbolise the ever increasing urbanisation of the modern world.

Photoshoot 2 – Containers & Storage

For my second photoshoot I decided to focus more on the aspects of commercial business’ equipment such as storage crates, large containers, trucks, vans and skips to reflect Breuer’s series of images and draw attention to the sheer amount of industrial, desolate areas around us. I wanted to capture objects such as skips to symbolise the way the world is treating nature like its garbage, and filling our landscapes with manufactured waste.

Edited Images

Independent, Task

Urban/Industrial Landscapes – Frank Breuer

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Frank Breuer

Frank Breuer (1963- ) is a German photographer who studied under the notable photography professor Bernhard Becher at the Kunstakademie Dusseldorf, an academy of fine arts in Germany. Breuer travelled from 2003-2004 and became a visiting lecturer on visual and environmental studies at Harvard University. Breuer’s work holds many similarities to that of the Becher’s, focusing on capturing industrial buildings, storage units, telephone poles and detached shipping trailers in barren landscapes. In Warehouses (1995), Logos (1995), and Containers (2002), Breuer captures portraits of the post-industrial, capitalist society – facades of distribution warehouses devoid of human presence, logos of commercial businesses in nondescript places, and compositions of neatly stacked shipping containers that resonate both a sense of displacement and familiarity. Breuer’s work explores these ideas of the new topographies in a continuing globalized world, I aim to take inspiration from his minimalistic images in my urban and industrial photoshoots.

Image Analysis

Frank Breuer | Mercedes | Logos 1995

This image by Frank Breuer reflects the growing industrialisation of natural landscapes in our modern world. Breuer’s composition, photographing the subject from a lower angle, portrays the logo as imposing, as if it looks down on the people below it. Additionally, the natural environment in the background and right side of the image contrasts greatly with the industrial structure that stands amongst it. I believe Breuer has captured the structure in this way to reflect the way ‘man’ rules over the natural world, interrupting and destroying it bit by bit while keeping a watchful eye over all they create. Furthermore, in the background of the photo the sky holds little to no texture, very different from the rough texture created by the trees below. It is possible that Breuer has over exposed his image slightly to form such a bright white sky. This lack of texture behind the logo allows it to stand out greater than anything else in the image, creating the main focal point- as it has no distracting background pattern or landscape. This conveys the idea that society’s main focus is money and power, people are ignoring the natural world around them as commercial business’ are putting their influence in every place possible. The negative space created by Breuer’s over exposed sky also reflects the negative impact that urbanisation is having over the entirety of nature.

Locations Mind-map

Independent, Task

Urban/Industrial Landscapes – The New Topographics

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The New Topographics

In 1975, the exhibition titled “Photographs of a Man-Altered Landscape” of New Topographics epitomized a key moment and turning point in landscape photography. New topographic images strayed away from the usual conventions of landscape photography and gave way to unromanticised views of stark industrial landscapes, suburban sprawl, and everyday scenes not usually given a second glance. The show was curated by William Jenkins at the International Museum of Photography at the George Eastman House (Rochester, New York), and remained open to the public from October 1975 until February 1976. Photographers from the exhibition such as Robert Adams, Lewis Baltz, Nicholas Nixon and Hiller Becher took inspiration from the mundane and man-made, revealing the growing unease about how the natural landscape was being eroded by industrial development. This revolutionary style of photography was both a reflection of the increasingly modernised world, and a ‘reaction to the tyranny of idealised landscape photography that elevated the natural and the elemental’- contrasting greatly with the work of landscape photographers such as Ansel Adams.

Lewis Baltz
Bernd & Hilla Becher

Lewis Baltz

Lewis Baltz (1945-2014) was an American photographer and visual artist, most famously known for his contribution to the New Topographics movement as one of the “New Topographics: Photographs of a Man-Altered Landscape” exhibition’s original photographers. Growing up in southern California in the post-war years, he had witnessed at first hand the rapid urbanisation of the countryside and the relentless spread of suburbia. In his work, Baltz focused on capturing “a landscape that no one else had much interest in looking at”, photographing areas such as car-parks, tract housing, concrete walls, garages, vast industrial warehouses, metal fire escapes, anonymous buildings, all with an absence of people. Baltz described how his daily life took him “to shopping centres, and gas stations and all the other unhealthy growth that flourished beside the highway”- he has a clear aesthetic in his work, focusing on minimalism and rejecting the usual expectations of landscape photography, such as the romanticism of landscapes. His images demonstrated a stark geometric beauty, making the new homogenised America visible in a way that echoed, and criticised, the soullessness of urban planning.

Examples of Baltz’s Work

Image Analysis

 Lewis Baltz | 1974 | “The new Industrial Parks near Irvine, California”

I chose to analyse this specific Lewis Baltz image due to its strong technical aspects that conform to the formal elements, while also reflecting Baltz’s views on the growing world of industrial landscapes. Firstly, I really enjoy how Baltz has captured this image with a high contrast black and white filter, whether this was a specific choice or not, the absence of colour creates a desolate atmosphere. This links to the New Topographics movement and shows Baltz’s negative opinions on the increasing urbanisation of the world. However, Baltz also wished to find the beauty in his everyday geometric surroundings, for example a static rectangular shape can be seen to the left on the door, and is repeated on the bricks, and again on the ladder- it keeps on going. The use of repetition, while aesthetically pleasing to the eye, could actually represent the uniformity of society and the landscapes we are destroying- suggesting these industrialised buildings are taking over our environment. Additionally, the geometric shapes create strong leading lines throughout this image. Particularly, the stripes of paint to the left of the photograph and the thick line created by the half-wall on the right draws the observers eye towards the ladder in the background of the image. Baltz may have wanted to highlight this aspect of his image as the ladder disappearing at the top reflects the never ending climb to save the natural world.

In addition, the natural lighting Baltz used to capture this image creates soft shadows and highlights however, there is still a big contrast between dark and light tones. The paint swatches on the left of the image move up in a gradient pattern from dark to light, becoming less uniformed as they go on. This could symbolise the destruction of nature, and how modernised buildings are slowly trampling on our environment. Overall, the tones in this image are balanced (with slight emphasis on mid-tones) which creates a muted sombre mood, possibly connoting Baltz’s feelings while taking in the landscape he has captured. In terms of space in this photograph, there is not a wide depth of field or a vast expanse of land in the background (like the work of Ansel Adams), instead the background is blocked by a manufactured wall. Moreover, the composition of this image reflects the rule of thirds with the door and paint in section one, ladder and bricks in section two and the rectangular wall structure as the third. By using this composition technique, Baltz has created a visual narrative as he guides the observers view through the image from the dark gloomy thoughts on an industrialised world, to a hopefully brighter and more optimistic future for landscapes.

My Photoshoot – Contact Sheets

Edited Images

In class this week we took our cameras around the school grounds in attempt of capturing images relating to The New Topographics. I took inspiration from Lewis Baltz during my photoshoot, focusing on photographing buildings, walls, windows and doors. I wanted to include as many geometric shapes as I could see around me in my images which became easier as the lesson went on, finding industrialised areas around the back of the sports building and down near Highlands College. I knew I wanted to edit my images with a black and white filter after the shoot, so while capturing them I saw fit to stand in specific positions looking up at/down on the landscapes in order to capture contrasting shadows and highlights that would be emphasised by the unsaturated editing. My images include several vertical and horizontal leading lines of all shapes and sizes, guiding the observer’s focus along the photo to focal points such as doors and windows. Moreover, my use of repetition within these images mirrors Baltz’s technique of showing the echoes of modern society conforming to industrialised architectural ideas. Additionally, I have reflected the concern with industrialised buildings taking over our environment by capturing tree branches in the background of a few of my images- suggesting the urbanised world is covering up the beauty of nature.

Resource, Task

Landscape Photography – Archives

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Our task was to juxtapose one of our original landscape images to one from the Societe Jersiaise: a photographic archive of 80,000 images dating from the mid-1840s to the present day. When on the website, I searched for images of Corbiere Lighthouse, where I found the image below that I thought would match up with a photograph I took there more recently.

Chosen Images

  • Corbiere – Present | Mine
  • Corbiere – Past | JEP

When editing these images together in photoshop I tried to line up the horizon lines by cropping sections of each photograph. The juxtaposition of these images show little difference in the landscape, other than the past having boats in the water and people on the causeway whereas mine does not. The structures and rock forms around the water have changed slightly due to sea erosion however not drastically to note any difference.

Final Edit